Los hijos de las tinieblas by José Antonio Cotrina Gómez, , available at Book Depository with free delivery worldwide. José Antonio Cotrina has 48 books on Goodreads with ratings. José Antonio Los hijos de las tinieblas (El ciclo de la luna roja, #2) by. José Antonio . Best books like Los hijos de las tinieblas: #1 Laila Winter y la Maldición de Ithirïe (Laila Winter, #3) #2 La maldición José Antonio Cotrina (Goodreads Author).

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Mariano was extremely helpful in connecting us across time zones and facilitating the conversation. Juan Miguel Aguilera is the award-winning co-author, along with Javier Redal, of Mundos en el Abismo and Hijos de la Eternidad, two canonical Spanish space operas; he is also a prolific illustrator, screenplay writer, and soon-to-be director. Eduardo Vaquerizoa prolific contributor to short story magazines and anthologies, is the author tinieblxs Danza de Tinieblas and Memoria de Tinieblas, both of which won the Ignotus the Spanish equivalent of the Hugoas well as other well-regarded works richly informed by history.

They are many and they are quite varied. I admire them greatly. After that, I love many others, most cotruna them science fiction writers: Le Guin, Bradbury, Lem, Ballard and others. Authors who are or have been influential in my writing: Ray Bradbury, Ursula K. And many individual novels, poems and theater plays. From within the field: Stephen King, Robert Howard. Honestly, it changes over time. What is the most exciting thing happening in Spanish science fiction today authors, movements, editors, etc.

On the one hand, and little by little, science fiction is becoming more respectable.

Books by José Antonio Cotrina (Author of La canción secreta del mundo)

More mainstream readers and writers are coming to the genre, which for me is a positive thing. The second item is the growth of small publishers, combined with the presence of more writers.

Some great developments are: Gigamesh and its big new bookshop, Lektu and the possibility of buying buys online at moderate prices, the Terra Nova anthologies and all the work Mariano Villarreal is doing, the existence of HispaCon, Sportula as a new publisher, and the cotrins Random House imprint, Fantascy.

Perhaps the most exciting phenomenon is the appearance of many small publishers who are willing to bet on national authors. I would say that one exciting development is the increasing presence of women in our field. Tinieblaas I was talking with a friend who wrote a story for my next Akasa-Puspa anthology, and I told her that I thought her approach was fantastic, really innovative.

I think female writers are going to help refashion the field. The single most important development is something Elia alluded to: Campbell is perhaps the single most influential editor in the history of English-language science fiction.

Is there a Spanish John W. Domingo Cotrlna and Luis Vigil can be considered, in my opinion, the two most influential science fiction editors in Spain. They introduced us to the great American and British writers who were still alive and writing wonders.

They even published Russian stories! I really think science fiction exists tihieblas Spain because of them. Later, there were tinidblas, of course: But Santos and Vigil were the old guard and we have lots to thank them for. Domingo Santos, without a doubt.

He was a writer, translator, and director of various collections throughout the 70s and 80s. It is to him that we owe the credibility gained by Spanish science fiction authors.


No question about it, our John W. His work enabled the 90s generation to change the face of science fiction in Spain, and this is recognized with the Domingo Santos award, which is issued yearly. The Orbis Library of Science Fiction collected one hundred titles, mostly translations of English-language science fiction classics, with a few Spanish novels mixed in.

Domingo Santos helped curate the selection. How did this collection affect you personally, if it did? What did it do for science fiction in Spain? For me the Orbis collection was a kind of mental tin-opener. The collection provided me with concentrated access to top writers.

The result was discovery: I am too old to have been really affected by this collection, excellent though it was. Yes, one hundred volumes of a collection primarily dedicated to American science fiction. An accomplishment and a surprise. I was twenty years old when the collection started, and my interest tjnieblas science fiction was at its peak, so it was like a godsend. I bought the whole thing, of course, and read most of it.

Some of these folks became loyal readers, and some went further and antonoo writers. In my case, I was already writing at the time I was working on the first draft of my novel La Espada de Fuegobut the Orbis collection sparked my imagination and fueled my creative energy.

But it was an extremely important collection in terms of disseminating science fiction among readers who barely knew it. A lot of the Orbis collection was based on the Ultramar collection, also spearheaded by Domingo Santos. What was your involvement in that Golden Age, as writers and readers?

My first story was published in and my first book inwhen I was already living in Austria. In any case, was the moment when, for the first time, I got together with other Spanish science fiction writers in Barcelona, at a short event organized by BEM the fanzine that allowed us to meet Joe Haldeman and gave us three days to talk about our favorite literary genre. In the nineties the SF world in Spain seemed to bloom.

It really was a great time. I was invited twice to Utopiales—the great French Festival held in Nantes—though that might have happened a bit later. Anyway, I was in touch with everybody, I tried to read everything that was being published and to help science fiction in Spain come into its own.

I would say that our Golden Age started in the mids, then there was a brief parenthesis at the start of the 90s, and it resumed from the early 90s through to the mids.

The novel I wrote with Javier Redal, Mundos en el Abismo, is considered by many to be one of the defining moments in the formation of Spanish science fiction as we know it today.

I think that literature, as any art, happens in short bursts or waves that combine passion with state-of-the-art craftsmanship. We were enthusiastic conversationalists.

At these gatherings there would almost always be a publisher present, or someone who produced a fanzine, or perhaps someone who hosted a radio talk show about science fiction and fantasy. We were a hardcore, very active group of fans. I think that was the secret: But these markets turned out to be a good training ground, and they were quite professional regarding the selection of stories and the editing of fiction. Another powerful lever was the literary prizes, the only way to obtain some money writing science fiction and fantasy for us at the time.

The result was a noticeable rise in quality and in the number of active writers. The changes in the 90s happened as a result of the work done by previous genre fans. They paved the way for us. The UPC award, with its shortcomings—like paying inordinate attention to foreign authors, suggesting an attitude of deference—was really important in getting young or not-so-young authors to write short novels like crazy. The short novel, or novella, is an interesting form, because it forces the author to condense full plots and compelling characters into a small space, and that kind of discipline helps a writer grow.


Besides leading to friendships, many of which continue to this day, the cons allowed for an exchange of ideas, projects, dreams. An interesting period, to be sure. We simply wrote what we wanted to write, though we did notice that we were living in a period of great creative stirrings. How important is this awareness today?

El ciclo de la luna roja 2. Los hijos de las tinieblas

Writers and readers in the 70s were used to reading translations, in some cases very poor ones. Writers like me who arrived on the scene in the 80s read more mainstream novels by Spanish or South American writers. That influenced our style. Now we write knowing that form and language are important. Until the 90s the few science fiction writers who published in our country were, in general, fans, happy to contribute but somewhat limited from a literary perspective.

In the 90s a new generation appeared, better equipped with literary technique, and that was visible in the quality of the texts. Science fiction is, above all, literature, so the importance language is fundamental. That notion continues to be in play today. Yes, I think that in the 90s several authors appeared who, without sacrificing story or plot, paid greater attention to the use of iose than in previous decades. Of course, all generalizations are unfair: I suppose the cause of the improvement was that by this time there were more people writing science fiction than before.

The same seems to be happening now with authors who emerged after the year Which is to say, the same situation as twenty years ago. And you see it in other genres too, as confirmed by my experience as a judge for jowe young adult and historical novel awards.

As I said before, thanks to the new wave of Orbis and Minotauro people in the 90s read a lot of new science fiction writers. And we read other things too—other genres, literature in our mother tongue, classics of world literature. Our interest was in literature first and foremost; with science fiction as a special case, unlike more conservative academics and mainstream writers who argue that literature and science fiction are distinct. Science fiction and fantasy are the literature of the marvelous.

Literature is created through language, so of course we became interested in language. Writers must hone their artistic and communicative intentions and abilities to push language beyond its formals limits. Up tothe average science fiction reader read only science fiction and lacked any or almost any knowledge of classical or mainstream literature.